I think it was the emotional part which was tough, because the audience go through a series of changes when they're watching it, and then to suddenly bring in an element of seriousness at the end -- it means the audience really has to believe in the situation. So that would be the toughest part.

Coming to Sarkar 2 -- not going into the story because you won't tell us -- but from the way you're shooting it, you're spending an awful amount of time framing the shots. It's all about the shadow and the light and the way your actors are positioned. Is this a feature of all your films?

Yeah, pretty much. I'm very particular about how an actor or a scene, is framed because it creates a strange emotion when you see it in the right context. I don't really feel films are about content, eventually they're broken up into pictures and soundbytes. The audience never gets to hear a story; they see a story in a series of shots, following one another.

So I feel, each shot should make an emotional connect in some way of the other: either to create a larger than life perspective or to create a certain emotion, be it fear or whatever the scene calls for.

I feel you need to feel an emotion. If you freeze the frame, there should be something you feel in that -- if you zoom in a little more, it won't be the same, and if you zoom out a little more, it won't be the same. So I'm very, very particular about framing.

Also read: 'I wanted to play Gabbar in Sholay'

Back

|

Next